Handel: Chorus: `And the Glory of the Lord` from the oratorio
... Altered chords: Sharpening/flattening one of the notes of the chords to make it a chromatic note. Examples of bars with altered chords are: 17/18 and 33/34. Chord substitution: replacing one chord with another. 7th Chords: notes from the major triad with an added minor 7th, e.g. G7= G B D and F The ...
... Altered chords: Sharpening/flattening one of the notes of the chords to make it a chromatic note. Examples of bars with altered chords are: 17/18 and 33/34. Chord substitution: replacing one chord with another. 7th Chords: notes from the major triad with an added minor 7th, e.g. G7= G B D and F The ...
Music Glossary
... interval—the distance between two pitches introduction – a musical passage prior to the main theme key signature—the sharps or flats appearing on the left side of each staff to show the scale in which the music is written leap—an interval larger than a whole step leap – motion from one pitch to anot ...
... interval—the distance between two pitches introduction – a musical passage prior to the main theme key signature—the sharps or flats appearing on the left side of each staff to show the scale in which the music is written leap—an interval larger than a whole step leap – motion from one pitch to anot ...
Ostinato composition
... Take 5 – Dave Brubeck Take a chance on me – ABBA Immigrant song – Led Zeppelin ...
... Take 5 – Dave Brubeck Take a chance on me – ABBA Immigrant song – Led Zeppelin ...
Minor Thirds
... feels happy or sad, depending on where you place the semitones. Pythagorean tuning is quite a clever method, and is indeed fundamental to modern music. ...
... feels happy or sad, depending on where you place the semitones. Pythagorean tuning is quite a clever method, and is indeed fundamental to modern music. ...
The Lydian Mode - Fundamental Changes
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
Glossary
... The extent to which performers detach individual notes from each other. This is signified by such markings as slurs above or below notes for legato or dots above or below notes for staccato. bar A bar is a single metrical unit, usually divided into two, three or four beats, with a stress on the firs ...
... The extent to which performers detach individual notes from each other. This is signified by such markings as slurs above or below notes for legato or dots above or below notes for staccato. bar A bar is a single metrical unit, usually divided into two, three or four beats, with a stress on the firs ...
Automatic Chord Detection - People Pages
... C] -minor chord, for the following reasons. First, it describes the combination of the arpeggiated notes G]3 , C]4 , and E4 , repeated in the four triplets in the first measure of the upper staff. Second, in the lower staff for the first measure, there are the whole notes C]3 and C]2 . Altogether th ...
... C] -minor chord, for the following reasons. First, it describes the combination of the arpeggiated notes G]3 , C]4 , and E4 , repeated in the four triplets in the first measure of the upper staff. Second, in the lower staff for the first measure, there are the whole notes C]3 and C]2 . Altogether th ...
Impressionist Music and Debussy: an Overview
... Impressionist Music and Debussy (1890-1920): an Overview The Impressionist movement in music was led by the French composer Claude Debussy. Influenced by the paintings of the French impressionists Debussy, an active critic as well as composer, viewed impressionism as a reaction to both the formal em ...
... Impressionist Music and Debussy (1890-1920): an Overview The Impressionist movement in music was led by the French composer Claude Debussy. Influenced by the paintings of the French impressionists Debussy, an active critic as well as composer, viewed impressionism as a reaction to both the formal em ...
05 Elements Unit 5
... and sounds an octave higher. The same happens in the opposite direction at an octave lower. In the Western octave the octave is divided into 12 equal semitones (half steps) From these are built the Major/minor scales: 7 pitches drawn from the 12 each with a different combination which constitute ...
... and sounds an octave higher. The same happens in the opposite direction at an octave lower. In the Western octave the octave is divided into 12 equal semitones (half steps) From these are built the Major/minor scales: 7 pitches drawn from the 12 each with a different combination which constitute ...
See more information on MUS - Barbershop Harmony Society
... Rhythm and Meter – Extremely complicated rhythms are not characteristic of the barbershop style and will result in a lower Music score. Beyond that, any rhythm that the performer can sing while maintaining quality barbershop sound is acceptable. The song should use only standard meters such as 2/4, ...
... Rhythm and Meter – Extremely complicated rhythms are not characteristic of the barbershop style and will result in a lower Music score. Beyond that, any rhythm that the performer can sing while maintaining quality barbershop sound is acceptable. The song should use only standard meters such as 2/4, ...
Orchestra Final Exam Study Sheet
... Rests- notation used to show periods of silence Ritard- slow down Romantic Period- 1820-1900 (late Beethoven, Tchaikovsky); known for its’ explosion of Russian composers; emphasis on ‘feelings’; Tchaikovsky wrote “The Nutcraker”! Senza Sordino- without the mute/take mute off Simile- to continue in t ...
... Rests- notation used to show periods of silence Ritard- slow down Romantic Period- 1820-1900 (late Beethoven, Tchaikovsky); known for its’ explosion of Russian composers; emphasis on ‘feelings’; Tchaikovsky wrote “The Nutcraker”! Senza Sordino- without the mute/take mute off Simile- to continue in t ...
music
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
Basic Music Theory
... Same thing written with flats (enharmonic equivalent): A, Bb, B, C, Db, D, Eb, E, F, Gb, G, Ab Pitch: the frequency of a note; how high or deep it sounds; other words that are equivalent for beginning theory are: pitch = note = tone = specific vibration. In written music pitch is understood by a let ...
... Same thing written with flats (enharmonic equivalent): A, Bb, B, C, Db, D, Eb, E, F, Gb, G, Ab Pitch: the frequency of a note; how high or deep it sounds; other words that are equivalent for beginning theory are: pitch = note = tone = specific vibration. In written music pitch is understood by a let ...
Musical Elements and Compositional Devices
... A form of musical shorthand used by composers in the Baroque period. The numbers underneath the bass line told the performer which chords to play (rather like guitar chords above the music do today. The bass part was called the continuo. Translating the figured bass numbers and symbols into an accom ...
... A form of musical shorthand used by composers in the Baroque period. The numbers underneath the bass line told the performer which chords to play (rather like guitar chords above the music do today. The bass part was called the continuo. Translating the figured bass numbers and symbols into an accom ...
Chapter 15: European Impressionism and Modernism
... • Turning away from the predominantly idealistic, sentimental aesthetics of Romanticism – Partially due to the upheaval of the Franco-Prussian War and WWI ...
... • Turning away from the predominantly idealistic, sentimental aesthetics of Romanticism – Partially due to the upheaval of the Franco-Prussian War and WWI ...
MUSC 1000 Intro to Music
... center to another during the flow of the music – when this happens, we call it MODULATION We think of the horizontal alignment of the notes as the MELODY and the vertical alignment of the notes as the HARMONY – the way that these two elements are interwoven – or how they interact with one another cr ...
... center to another during the flow of the music – when this happens, we call it MODULATION We think of the horizontal alignment of the notes as the MELODY and the vertical alignment of the notes as the HARMONY – the way that these two elements are interwoven – or how they interact with one another cr ...
“Eric Whitacre Sleep” Analysis
... marked with ties for illustration). This example clearly illustrates Whitacre’s approach to pedal notes: three chords descend in similar motion (vi-V-IV) with the Soprano remaining on the Eb from the first chord throughout. This information in useful in analysis, as it suggests that the identity of ...
... marked with ties for illustration). This example clearly illustrates Whitacre’s approach to pedal notes: three chords descend in similar motion (vi-V-IV) with the Soprano remaining on the Eb from the first chord throughout. This information in useful in analysis, as it suggests that the identity of ...
Notation Note lengths and rests from semibreve to semiquaver
... Candidates should understand and correctly use language from the following list. Where appropriate they should be able to recognise and name features heard. The lists define the vocabulary which willbe used in the listening test. Candidates will not be penalised for correctly using other terminology ...
... Candidates should understand and correctly use language from the following list. Where appropriate they should be able to recognise and name features heard. The lists define the vocabulary which willbe used in the listening test. Candidates will not be penalised for correctly using other terminology ...
Review of Music Rudiments
... Time signatures use numbers to represent note values (4=quarter, 8=eighth) There is no number that can represent a dotted value Compound duple time uses the number 8 in the ...
... Time signatures use numbers to represent note values (4=quarter, 8=eighth) There is no number that can represent a dotted value Compound duple time uses the number 8 in the ...
Tonal Harmony Chapter 23 Enharmonic Spellings and Enharmonic
... because it is the cadential six-four chord in m.42 not the V7/IV = Ger+6, that tells us that a modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterprete ...
... because it is the cadential six-four chord in m.42 not the V7/IV = Ger+6, that tells us that a modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterprete ...
The Elements of Music
... Fast vibrations produce high pitches, and slow vibrations produce low pitches. Musicians use a staff with various clefs to notate pitch. ...
... Fast vibrations produce high pitches, and slow vibrations produce low pitches. Musicians use a staff with various clefs to notate pitch. ...
Introduction to Music
... a. A statement followed by a contrasting statement b. The technique of combining several melodic lines into a meaningful whole c. The organization of musical ideas in time d. Constant repetition of a music idea ...
... a. A statement followed by a contrasting statement b. The technique of combining several melodic lines into a meaningful whole c. The organization of musical ideas in time d. Constant repetition of a music idea ...
Chapter 1 Definitions
... 9. The major scale can be thought of as two identical, four-note patterns, separated by a whole step. These four-note patterns are called ___________________. 10. Symbols which raise or lower pitches by a whole or half step are called ____________________. 11. The term __________ is used in music to ...
... 9. The major scale can be thought of as two identical, four-note patterns, separated by a whole step. These four-note patterns are called ___________________. 10. Symbols which raise or lower pitches by a whole or half step are called ____________________. 11. The term __________ is used in music to ...
Diatonic Harmony Primer - John Ely`s Steel Guitar Web
... that scale degree and carrying the name associated with that degree. So the tonic triad is built on degree 1, 3, and 5; the supertonic triad is build on degree 2, 4, and 6; and so on. The seven diatonic triads for the key of C are shown in the diagram (right) and are commonly labeled using the Roman ...
... that scale degree and carrying the name associated with that degree. So the tonic triad is built on degree 1, 3, and 5; the supertonic triad is build on degree 2, 4, and 6; and so on. The seven diatonic triads for the key of C are shown in the diagram (right) and are commonly labeled using the Roman ...
Chapter 7. The Rite of Spring (Stephen Edelglass)
... quality is achieved via a constantly changing rhythm within which the melody flows. The meter changes at every bar line: four quarter notes to a measure—that is, four beats to a time unit— followed by three quarter notes to a measure, back to four quarter notes and then two quarter notes to the meas ...
... quality is achieved via a constantly changing rhythm within which the melody flows. The meter changes at every bar line: four quarter notes to a measure—that is, four beats to a time unit— followed by three quarter notes to a measure, back to four quarter notes and then two quarter notes to the meas ...
Harmony
In music, harmony is the use of simultaneous pitches (tones, notes), or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the ""vertical"" aspect of music, as distinguished from melodic line, or the ""horizontal"" aspect. Counterpoint, which refers to the interweaving of melodic lines, and polyphony, which refers to the relationship of separate independent voices, are thus sometimes distinguished from harmony.In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with ""tensions"". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Typically, in the classical common practice period a dissonant chord (chord with tension) ""resolves"" to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between ""tense"" and ""relaxed"" moments.